Here are 100 books that Dirty Blonde and Half-Cuban fans have personally recommended if you like
Dirty Blonde and Half-Cuban.
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I was living one of the darkest periods of my life when a friend took me to a Louise Bourgeois show. I wandered among her pieces feeling numb. Then I entered a large room filled with Passage Dangereux from 1997. A most depressing art piece that put me into contact with the restrictions in a family, the limitations we set for each other, and the unhappiness everywhere. When I left the room, I felt a lift in my spirits. I’m a writer to try to put more precise words to what goes on inside ourselves when we are alone and when we fall in love and enter into a relationship with another person.
A man I was working with recommended this book to me, when he heard about my novel, while it was in the making. I got hold of this book and already after the first chapter I understood why. Janice Radway investigates how Harlequin novels have such a large audience. In essence it is because romance novels always end well, as opposed to life, that keeps being complicated. It taught me that I’m a very romantic person. This was something I had never regarded as a positive trait so of course I failed to see just how important romance was and is to me. By identifying with millions of women who read these romance novels, I gained a respect that I still feel is lacking in our culture: A respect for our emotions and the big role they play in our sense of satisfaction with life.
Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention ""must shift from the text itself, taken in isolation, to the complex social event of reading."" She examines that event, from the complicated business of publishing and…
As a university professor, I often teach popular women’s writing, and I realized that I needed to teach Latinx popular fiction as well. Women’s popular writing in the United States reflects but also shapes the way women see themselves in a global neoliberal world. After I had written an article on class and Chicanx and Latinx fiction, I also realized that class and race are key to thinking about how Latinas/Chicanas both create and follow market trends in an effort to “better” themselves in addition to showing how various Latinas/Chicanas see each other in terms of race, ethnicity, and gender.
This is the book that started the Chica Lit subgenre (about thirty-something Latinas negotiating their lives, romances, and careers). I have many problems with it, but I like her humor and much of her making fun of stereotypes of Latinas is spot on. It also shows us the breadth of Latina lives, from the white, privileged Latina to the Afro-Latina struggling along. It’s the lynchpin of my book, since this is where it all started, for me and for the subgenre. It’s important to understand the messages popular Latinx literature gives us about gender and about Latinidad.
Alisa Valdés-Rodríguez's vibrant, can't-put-it-down novel of six friends--each one an unforgettable Latina woman in her late '20s--and the complications and triumphs in their lives
Inseparable since their days at Boston University almost ten years before, six friends form the Dirty Girls Social Club, a mutual support and (mostly) admiration society that no matter what happens to each of them (and a lot does), meets regularly to dish, dine and compare notes on the bumpy course of life and love.
Las sucias are:
--Lauren, the resident "caliente" columnist for the local paper, which advertises her work with the line "her casa…
As a university professor, I often teach popular women’s writing, and I realized that I needed to teach Latinx popular fiction as well. Women’s popular writing in the United States reflects but also shapes the way women see themselves in a global neoliberal world. After I had written an article on class and Chicanx and Latinx fiction, I also realized that class and race are key to thinking about how Latinas/Chicanas both create and follow market trends in an effort to “better” themselves in addition to showing how various Latinas/Chicanas see each other in terms of race, ethnicity, and gender.
As her title indicates, this book delves into the ways Latino/as are described, shaped, and marketed both to the United States and to themselves. Dávila, a social anthropologist, brilliantly exposes not just the workings of the neoliberal state on this process, but how marketing and demographic research by corporate interests shape the ways Latinas/os are commercialized not just with things like food but even with cities interested in “cleaning up” Latinx neighborhoods. My book looks at the way Latinx fiction does something of the same thing, including shaping the way Latinx poverty is seen as “inevitable” by these different players.
Both Hollywood and corporate America are taking note of the marketing power of the growing Latino population in the United States. And as salsa takes over both the dance floor and the condiment shelf, the influence of Latin culture is gaining momentum in American society as a whole. Yet the increasing visibility of Latinos in mainstream culture has not been accompanied by a similar level of economic parity or political enfranchisement. In this important, original, and entertaining book, Arlene Davila provides a critical examination of the Hispanic marketing industry and of its role in the making and marketing of U.S.…
As a university professor, I often teach popular women’s writing, and I realized that I needed to teach Latinx popular fiction as well. Women’s popular writing in the United States reflects but also shapes the way women see themselves in a global neoliberal world. After I had written an article on class and Chicanx and Latinx fiction, I also realized that class and race are key to thinking about how Latinas/Chicanas both create and follow market trends in an effort to “better” themselves in addition to showing how various Latinas/Chicanas see each other in terms of race, ethnicity, and gender.
Vallejo painstakingly lays out the way some Mexican Americans, usually the poorest of the minorities, struggle to make it into a specifically American middle class. She details how these Latinas/Latinos carefully shape themselves, and in turn are shaped by corporate and state interests, into an ethnicity that is for the most part deracinated and stripped of their more obvious “ethnic” attributes (as a small example, most drop the accent marks in their names). For my book, a look at the middle-class Latinx is a look at the desires and strivings of Latina writers and characters of Chica Lit.
Too frequently, the media and politicians cast Mexican immigrants as a threat to American society. Given America's increasing ethnic diversity and the large size of the Mexican-origin population, an investigation of how Mexican immigrants and their descendants achieve upward mobility and enter the middle class is long overdue. Barrios to Burbs offers a new understanding of the Mexican American experience.
Vallejo explores the challenges that accompany rapid social mobility and examines a new indicator of incorporation, a familial obligation to "give back" in social and financial support. She investigates the salience of middle-class Mexican Americans' ethnic identification and details how…
I started in publishing at the Advocate magazine, twenty years ago in its heyday, then moved to Alyson Books, who first published Emma Donoghue among many others, offering a place for queer writers showcasing queer stories to find their audience. Afterwards, I became involved with Gertrude literary journal, a beloved, 25-year-old non-profit, LGBTQA journal that has now evolved to The Gertrude Conference. All the while, I read, wrote, and supported queer stories, like these gems!
James Hynes’ novel focuses on Jacob, nicknamed “Sparrow”, who’s a slave in a brothel in New Carthage at the end of the Roman Empire. Yum!
Although the book itself is too brutal for my taste, as it goes through development, perhaps they could add a thread of lightness, especially in the lives and friendships Sparrow develops with many of the “Wolves” (prostitutes). As a series, this could be a Gladiator-meets-Harlots, with a darkness and depth that would give us insight into the lowest rung of the Roman Empire, with the possibility of a dozen sub-stories to fill out as we trod through this dark time.
'A stunning work of historical imagination . . . masterful in its portrayal of love, sex and friendship' - The Observer 'Utterly engrossing, vivid and honest' - Emma Donoghue, author of Room
Meet Sparrow, a boy slave in the city of New Carthage in the twilight years of pagan Rome.
Raised in a brothel on the margins of a great empire, a boy of no known origin creates his own identity. He is Sparrow, who sings without reason and can fly from trouble. His world is a kitchen, a herb-scented garden, a loud and dangerous tavern, and the mysterious upstairs…
I’m obsessed with the exploration of what it means to be a human being. We’re coming into an era where we see more characters who aren’t good or evil but both—they possess the potential to save someone from jumping off a bridge one day and beating someone the next. We’re all capable of the greatest acts of kindness and the most abominable atrocities imaginable. I believe we need to be reminded of that fact so that when there comes a time when we can decide whether to hurt or to help someone, we become the better version of ourselves and make the right decision.
Michael Faber is one of my favorite writers of all time, and the same author of Under the Skin, another wonderful book with a female protagonist you’ll hate yourself for loving. Faber’s range as a storyteller is incredible, and along with his mastery of horror and science fiction, he shows that he can put together a Victorian epic that is gorgeously written, with a main character, Sugar, who is a complicated character—a sex worker by trade who sometimes makes bad choices but is admirable in how she has to navigate the world of pompous, detestable men to survive.
'Watch your step. Keep your wits about you; you will need them . . .'
So begins this irresistible voyage into the dark side of Victorian London. Amongst an unforgettable cast of low-lifes, physicians, businessmen and prostitutes, meet our heroine Sugar, a young woman trying to drag herself up from the gutter any way she can. Be prepared for a mesmerising tale of passion, intrigue, ambition and revenge.
For as long as I’ve enjoyed crime novels, I’ve always been drawn to the figure of the amateur detective. Something about the notion of the every(wo)man, forced to rely on their own wits and limited resources to solve the mystery and outsmart the killer (and sometimes the police!), has always appealed to me far more than that of the professional who does it for a living. When I wrote my first novel,In the Silence, I knew from the word “go” that I wanted to tap into this rich but often-overlooked vein of crime fiction with my own plucky amateur sleuth, determined to right the wrongs of the world.
I suspect one of the reasons I enjoy reading (and writing) about amateur detectives is that I’m instinctively drawn to stories of the dispossessed – those without a voice, forced to take matters into their own hands because the proper authorities won’t listen. Kirstin Innes’ debut novel, about a woman investigating the disappearance of her sex worker sister, is not for the fainthearted: a deep dive into a parallel world that foregrounds the voices of the women who inhabit it and challenges widely-held conceptions about them – namely that they’re all poor, pathetic victims in need of rescuing. Innes’ thorough research shines throughout, and the result is a compelling, informative, and thought-provoking novel that avoids the common tropes associated with the “dead hooker” subgenre of crime fiction.
Twenty-year-old Rona Leonard walks out of her sister Fiona's flat and disappears. Six years on, worn down by a tedious job, child care and the aching absence in her life, Fiona's existence is blown apart by the revelation that, before she disappeared, Rona worked as a prostitute. Determined to uncover the truth, Fiona embarks on a quest to investigate the industry that claimed her sister. Drawn into a complex world, Fiona's life tilts on its axis as she makes shocking discoveries that challenge everything she's ever believed ... Bittersweet, sensual and rich, Fishnet is a beautifully told story of love…
As a writer, I’ve been deeply influenced by Southern literature—especially the work of William Faulkner and Flannery O’Connor. Even though I’m not from the South myself, I am drawn to Southern writers’ immodesty. I believe much of contemporary literature is too timid. It is about the mundane, the everyday. It does not elevate; instead, it diminishes. Much of the literature of the South is biblical in its sensibilities. It is unafraid to deal with the big universal issues with language that is equally big and universal. It does not pander to modesty or postmodern selfconsciousness. It is audacious. It’s the kind of writing that made me want to write.
Franklin’s book is one of the key inspirations for my book, The Reapers Are the Angels. Combining a frontier western sensibility with Faulkner’s wicked gothic brutality, Franklin tells an engrossing tale of a young prostitute who finds herself mired in a world of outlaws, perverts, dandies, and murderers. Frantically running back and forth between high comedy and guttered grotesquerie, this story feels like it’s just barely clinging to its own rails—and that sense of dangerous tipping is what feels so thrilling about it. What Franklin inherits from Faulkner is a wide-eyed beguilement with degeneracy—or what Conrad would call a “fascination of the abomination.”
It's 1911 and the townsfolk of Old Texas, Alabama, have had enough. Every Saturday night for a year, E. O. Smonk has been destroying property, killing livestock, seducing women, cheating and beating men, all from behind the twin barrels of his Winchester 45-70 caliber over-and-under rifle. Syphilitic, consumptive, gouty, and goitered—an expert with explosives and knives—Smonk hates horses, goats, and the Irish, and it's high time he was stopped. But capturing old Smonk won't be easy—and putting him on trial could have shocking and disastrous consequences, considering the terrible secret the citizens of Old Texas are hiding.
I spent nearly two decades as a highly successful corporate attorney. Or, perhaps I should say, a successful attorney with a crude mouth and a love for all things spandex. And my unabashed personality was a differentiator in my career—it allowed me to cut through the corporate nonsense and personally connect with my opposition. But my career imploded when I became the subject of overt sexual harassment in my workplace and my employer worked harder at a coverup than resolution. Rather than sell back my story through litigation, I decided to write openly about sexual empowerment in the face of systemic slut-shaming.
I agree, a non-fiction recommendation is a bit of a curve ball from a romance author! But Sex Workers Unite is well worth the mention because it has been such an overwhelming inspiration for my own writing.
This book is a gut-wrenching description of both the dehumanization of sex workers and the social ills we all suffer as a result. It is not just a call for social justice—it is a warning message for those willing to turn a blind eye to the marginalization of a disenfranchised group.
A provocative history that reveals how sex workers have been at the vanguard of social justice movements for the past fifty years while building a movement of their own that challenges our ideas about labor, sexuality, feminism, and freedom
Documenting five decades of sex-worker activism, Sex Workers Unite is a fresh history that places prostitutes, hustlers, escorts, call girls, strippers, and porn stars in the center of America’s major civil rights struggles. Although their presence has largely been ignored and obscured, in this provocative history Melinda Chateauvert recasts sex workers as savvy political organizers—not as helpless victims in need of…
Cara Hogarth emigrated from England to Australia as a child, but always wished she hadn’t. So she studied medieval history at university in order to travel back in time and place. Now that she’s bagged a PhD (on Chaucer’s raunchy Wife of Bath), she prefers to write historical fiction in order to truly immerse herself and her readers in the past. She finds academic history a fantastic inspiration for her fiction writing, but is always seeking out historical novels that hit just the right balance between research, humor, and page-turning plot. Warning: her novels can get quite steamy!
Published by Oxford University Press, Common Women is an academic rather than a popular history of medieval English prostitution, and its author is an expert in medieval sexuality.
I adore the wealth of historical detail founded on original research that Karras presents. It’s a goldmine of inspiration for those of us who write fiction set in medieval England. Where else can you learn about the cross-dressing prostitute John Rykener, the Bishop of Winchester’s brothel empire in Southwark, or discover names like Clarice Clatterballock?
An account of the lives of prostitutes in Medieval England relations, which covers their treatment under the law, and concludes that prostitution was central to the medieval understanding of feminity.
